"We didn't want to overtake or clash with the collection, so we took the approach of theater makeup," said makeup artist Peter Philips. That meant he focused on contouring and highlighting—rather than color—to make the face look "strong and linear."

Philips took inspiration from Marlene Dietrich and Guy Bourdin photographs to create the shaded eye look. He mixed two Make Up For Ever eye shadows (165, a gray-beige, and 17, a rich cocoa) to get a dark brown shade that he winged out a centimeter from the outer edge of the eye.

Philips contoured the models' cheeks with a medium taupe blush and then used Mehron Cream Stick—"a clown white, almost"—on the highest points of the cheekbones in place of highlighter. He finished by swiping Make Up For Ever Super Gloss in Clear across the lips.

"Karl's idea for the show was 'purity of line,'" said hairstylist Sam McKnight, who created ponytails that he called "minimal, sharp, and modern." The style, far from basic, required the help of two or three assistants at a time.

The hair was blown out straight and smoothed with a flatiron. Then McKnight sectioned the top half of hair from temple to temple and made a middle part, crisscrossing the pieces over each other. He secured each piece with a bungee elastic behind the ears, then repeated the process using sections from the side of the head and crossing them over the middle section.